‘The Running Man’ Can’t Help But Run Out of Steam

Making a dystopian movie in 2025 is a difficult task.

As our world moves forward technologically and becomes more divided politically, what was considered dystopian 40 years ago may seem just a step away from reality today. 

Director Edgar Wright confronts these challenges head on in “The Running Man.” Originally a 1982 Stephen King novel and then a 1987 blockbuster starring Arnold Schwarzenegger, Wright (“Scott Pilgrim vs. the World,” “Baby Driver”) is now taking his turn at adapting the material. 

This iteration of the story stars Glen Powell as Ben Richards, a lower-class man trying to provide for his wife and sick child. 

Richards auditions for fictional hit show The Running Man where a person is hunted across the globe for 30 days by trained assassins and citizens alike. If contestants survive, they win one billion “new dollars” — the currency in this dystopian America which, in a winking moment, features Schwarzenegger as the face on the bill. 

Throughout the film, Richards quickly learns of the insidious nature of “the network” and how they control everything surrounding him. Cameras on flying orbs seek out Richards, hoping to capture the moment he’s killed for the live audience. 

Like everything in the movie, the messaging isn’t subtle. Wright’s message doesn’t really go past corporations are bad, brave people are good, which is a fine sentiment, but certainly bears itself overstated through the film’s 132 minute runtime. 

“The Running Man” makes sense as a project for Wright, a director that’s mastered action-comedy filmmaking with films like  “Hot Fuzz” or “Scott Pilgrim vs. The World”.

The issue, however, with this iteration is that many of the comedic moments that worked in the 1987 “Running Man” or in Wright’s past action-comedies fall flat in this one due to questionable casting and a script that just isn’t very funny. 

This isn’t to say there aren’t laugh out loud moments — there certainly are, but an unfortunate portion of the jokes simply don’t land. The underdeveloped script is certainly at fault to an extent, but so is Wright’s framing of Richards. 

The casting of Powell (“Anyone But You,” “Top Gun: Maverick”) is a peculiar choice. Powell doesn’t bring that monotone stoicism and uber-masculinity of Schwarzenegger, nor does he match the witty, comic heroes Wright typically depicts. 

Powell seems caught between these two extremes, reaching for an aggressiveness and intensity unnatural to him while trying to fit within Wright’s comedic register. 

Ultimately, it ends up a flawed performance, but there are moments of brilliance when Wright lets Powell play to his strengths and be a handsome smart-aleck. 

With Powell, there’s also an undeniable Tom Cruise-ness to his performance that’s a bit offputting. Since working on “Top Gun: Maverick,” Cruise (“Mission: Impossible,” “Top Gun”) seems to have touted Powell as his heir apparent, and this is the most directly Cruise-like thing Powell’s done since. 

Aside from Powell, the film features three flashy supporting performances from Hollywood veterans Colman Domingo, Josh Brolin and Michael Cera. 

Starring as the show’s mesmerizing host, Bobby T, is Domingo (“Sing Sing,” “Wicked: For Good”). Wright expertly capitalizes on the actor’s inherent gravitas and charisma by placing him as the evil face of the show.

Wright also employs Brolin (“Sicario,” “Weapons”) as another sinister force for the network, playing chief executive Dan Killian. Brolin brings a sternness and maliciousness to the part which is essential to the character. 

Finally, there’s Cera (“Superbad,” “Barbie”). Cera worked with Wright on 2010’s “Scott Pilgrim vs. the World,” now playing what’s essentially a Marxist Kevin McAllister, an ornery trap-setting revolutionary working to help Richards. 

The film is at its best whenever any of these three are on screen, and its lulls present themselves exclusively in their absence. 

In addition to the supporting performances, the action set pieces are a notable success. Wright’s competency as a filmmaker shines through in these moments, and Powell portrays a very plausible action hero. 

While most of these action set pieces were solid, the final one is a bit underwhelming, in large part due to how safe and bland the plotting of the final 30 minutes of the film is. Any sense of risk on a narrative level completely disappears, instead replaced by a horribly predictable and dull finale. 

Despite being a movie with very notable flaws, “The Running Man” still succeeds as a throwback action blockbuster that’ll be sure to attract audiences.

“The Running Man” is in theaters Nov. 13.